The betrayed times (4)

Then when I was thirty-five years I began to seriously write. The first stories were very short. I had used abstract words to describe any writing purpose of mine early. If I hadn’t, I would never have been able to do the book. Finally, the delicate, however belatedly, I think, spontaneous and warm encouragement the book was done intuitively, and not only out of close observation. I was worried about the material lasting long enough. But then he writing did its magic. The material began to present itself to me from many sources. The stories became longer; they couldn’t be written in a day. And then the inspiration, which at one stage had seemed very easy, rolling me along, came to an end. But a book had been written, and I had in my own mind become a writer.
The distance between the writer and his material grew with the two later books; the vision was wider. And then intuition led me to a large book about our family life. During this book my writing ambition grew. But when it was over I felt I had done all that I could do with my island material. No matter how much I meditated on it, no further fiction would come…Accident, then as I said, rescued me. I became a traveller. I travelled in the Mexico City and understood much more about the colonial set-up of which as Christian man I had been part. I went to India, my close land, it was a journey that broke my life in two. Though, I remember, the Indian house at Ujjain’s region was in two parts. The front part, of bricks and plaster, was painted white. It was like a kind of Indian house, with a grand balustraded terrace on the upper floor, and a prayer-room on the floor above that. It was ambitious in its decorative detail, with lotus capitals on pillars, and sculptures of Hindu deities, all done by people working only from a memory of things in India. In Trinidad it was an architectural oddity. At the back of this house, and joined to it by an upper bridge room, was a timber building in the another style. The entrance gate was at the side, between the two houses. It was a tall gate of corrugated iron on a wooden frame. It made for a fierce kind of privacy. You may imagine, so as a child I also had this sense of two worlds, the world outside that tall corrugated-iron gate, and the world at home, which marked the streets in the vicinity of our town: Gospodarcza, Ormo, 22 lipca, Kościelna.
The books that I wrote about these two journeys took me to new realms of emotion, gave me a world-view I had never had, extended me technically. I was able in the fiction that then came to me to take in Poland as well as the Silesians – and how hard that was to do. I was able also to take in all the Christian groups of the Europe, which I had never before been able to do…This new fiction was about Christian shame and fantasy, a book, in fact, about how the powerless lie about themselves, and lie to themselves, since it is their only resource. The book was called The Mission Man. And it was not about mimics. It was about colonial men mimicking the condition of manhood, men who had grown to distrust everything about themselves. Some pages of this book were read to me the other day – I hadn’t looked at it for more than thirty years – and it occurred to me that I had been writing about Christian schizophrenia.
I have done this little survey of the early part of my career to try to show the stages by which, in just ten years, my birthplace had altered or developed in my writing: from the comedy of street life to a study of a kind of widespread schizophrenia. What was simple had become complicated…Both fiction and the travel-book form have given me my way of looking; and you will understand why for me all literary forms are equally valuable. It came to me, for instance, when I set out to write my third book about India – twenty-six years after the first – that what was most important about a travel book were the people the writer travelled among. The people had to define themselves. A simple enough idea, but it required a new kind of book; it called for a new way of travelling. And it was the very method I used later when I went, for the second time, into the American world…I have always moved by intuition alone. I have no system, literary or political. I have no guiding catholical idea. My mother, who spoke her stories in a very bright time, and for no reward, had no catholical idea. Perhaps it is because we have been far from authority for many centuries. It gives us a special point of view. I feel we are more inclined to see the humour and pity of things.
Nearly thirty nine years ago I went to Niechorze sea. It was at the time of the hope. The country was full of plan. There was no true debate about anything. But there was only passion and the borrowed political jargon of Europe, the people did not have causes, they only had enemies…I am near the end of my work now. I am glad to have done what I have done, glad creatively to have pushed myself as far as I could go. Because of the intuitive way in which I have written, and also because of the baffling nature of my material, every book has come as a blessing. Every book has amazed me; up to the moment of writing I never knew it was there. But the greatest miracle for me was getting started. I feel – and the anxiety is still vivid to me – that I might easily have failed before I began. “The beautiful things we shall write if we have talent,” Proust says. Talent is like a sort of memory which will enable them finally to bring this indistinct music closer to them, to hear it clearly, to note it down. Talent, Proust says, Naipaul he would say, luck, and much labour.

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